This installation began as a series of informal gatherings which took place over the winter of 2020: part sleepover, part social-practice art, part ‘diasporadic’ coven, and part study group.
An intergenerational mending practice two years in the making, between my mother Maria Ling Qing Huang and myself.
In this iteration of Thunderclap, the show was set up as part-shop, part-sewing workshop and part-exhibition. Thunderclap employs steganography to publicly redistribute the erased work of Chinese anarcho-feminist He-Yin Zhen (1886–1920) through the medium of clothing accessories.
The exhibition Hutong Whispers is a steganographic catalogue of steganographic publishing projects camouflaged as a laundry line.
Departing from the rumour that during WWII the artist Wassily Kandinksy was recruited by the British Intelligence to smuggle secret communication by encoding it into his abstract, systematic and symbolic artworks, The Kandinsky Collective exhibition explores the subversive potential of using the formal language of art as a means to embed hidden messages.
TLTRNW (Too Long To Read And Write) is a thought experiment that envisions new breeds of languages by exploring stenography (shorthand), symbolic compressions of language and it's relationship to
BENJI™ is a speculative fiction that explores bio-information as a commodity and consequently envisions the prospects of genetic discrimination and the increasing personalisation of marketing strategies.
An interactive poster printed in 3 different types of invisible inks to ensure better protection. Steganography is the art and science of hiding messages in plain sight and invisible inks are one of the longest traditions of steganography spanning 2000 years of history. In order to uncover the whole message, visitors of the show were invited to activate the poster with 3 different kinds of activation methods, discovering secret writing and it's tactical and strategical use throughout history.
In the non-commercial section of Art Rotterdam 2015, artist Reinaart Vanhoe ran a xerox copy-and-paste-DIY bookmaking workspace called "My booth is your booth". Kimmy Spreeuwenberg and I were invited to participate and present our work called "My JSTOR is your JSTOR".
Prediction TV is a television station where the visitors of MAMA have the opportunity to become news reporters for weather and economic predictions. This project is an extension of a research on the role of prediction and the mechanism of self-fulfilling prophecy in modern society. The program of Prediction TV focuses on predicting two chaotic systems: the weather and the economy. The first channel reverses common sense understanding of the causal relationship between mood and weather.
Mood Radar is a personal weather forecasting system based on your mood presence. On the opening night, visitors received a personal reading in a semi-autonomous space resembling both weather station and gypsy caravan that was parked outside of TENT on the Witte de Withstraat. Inside the Mood Radar lab-caravan a divining rod specially designed using a para-rational approach measured the body’s unconscious movements and bio-electric signals to draw up a map of the visitors mood.
Initiated by Alina Parigger and myself, Holy Crap was a participatory happening where discarded material was turned into divine altars. The space was open to the public and workshops were held for the
If a machine inevitability embodies its inventors' desires, my rhetorical question is can it free itself from its' masters reign? What would technology be without desire? Can you strip it away, and if so would that equal to liberation, autonomy or even self-consciousness?